摘要
"讽寓"这一西方文学术语最早被欧美汉学家取代中国本土话语中的"比兴"范畴,用于研究汉唐《诗经》注释传统。20世纪80年代围绕这一用法是否恰当的争论,成为跨文化、跨语际的文学研究中,文学观念和理论话语碰撞的典型案例。这一对概念既有基于普遍的艺术经验和文学观念的相同之处,也有各自根植于中西不同文化传统和民族心理的独特性。二者在概念历史、语义结构、种属关系和意义主题上具有类同之处,但在适用体裁、思维方式和创作方法上存在差异。中西关键词比较不只是探明各自的义理内涵,更着眼于为中西话语参与当代文论建构找到适当的路径。比兴与讽寓的概念耦合是基于当代文学问题的互补性融合,其价值空间在于文学的现实介入功能及其艺术化方式。
The Western literary term"irony"was first replaced by European and American sinologists in the category of"Bi Xing"(metaphor)in local discourse to study the annotation tradition of"The Book of Songs"in Han and Tang dynasties.In the 1980s,the debate over the appropriateness of this usage became a typical case of the collision between literary concepts and theoretical discourse in cross-cultural and cross-lingual literary research.This group of concepts is on a similar basis between universal artistic experience and literary concepts,but has its own uniqueness rooted in different Chinese and Western cultural traditions and national psychology.The two have similarities in conceptual history,semantic structure,species relationship and meaning themes,but there are differences in applying genres,thinking approaches and creative methods.The comparison between Chinese and Western keywords is not only to explore their respective meanings,but also to find appropriate ways for Chinese and Western discourses to participate in the construction of contemporary literary theory.The conceptual coupling of metaphor and irony is based on the complementary integration of contemporary literary issues,and its value space lies in the realistic intervention function of literature and its artistic approach.
出处
《中国文学批评》
CSSCI
北大核心
2021年第2期60-69,158,共11页
Chinese Journal of Literary Criticism
基金
国家社会科学基金重大项目“中国诗歌的语言艺术原理及其历史生成规律”(18ZDA279)阶段性成果
作者简介
朱海坤,深圳大学美学与文艺批评研究院助理教授(深圳518060)。
